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The April 2017 issue of Modern Language ReviewContents:Mercantile Gentility: Defoe's Captain SingletonWriting Doubly in Montaigne's EssaisRe-enchanting the World in Bernardin de Saint-PierreThe Letters of Camille Claudel, 1880-1910English Influences in Contemporary ItalianHelena Lumbreras's Films and Social StruggleThe Influence of James Joyce on Hugo ClausPrisoner Narratives as Unlistened-to StoriesDostoevskii's 'The Meek One' and Goethe's FaustBook reviews

Authoritarian States and Corporatism in Portugal and Brazil: The Political and Ideological Origins of the Portuguese Estado NovoThe Changing Role of Parliament under the Portuguese DictatorshipPortuguese Trade Unions: Responding to Corporative OrganizationPortuguese Origins and the 'True' Brazil: The Ideas of Oliveira VianaThe Intellectual Triad of Brazilian Integralism: Salgado, Reale, BarrosoThe Role of the Technical Councils in Brazilian Planning (1934-1945)

ARTICLES Unnecessary Melodrama: Ideology and Narrative Legacy in Chernyshevskii's WhatIs to Be Done? and Godwin's Caleb Williams Marlowe's Doctor Faustus and The French Translation of The FaustbuchSeeking to Become All Things: The Neoplatonic Soul and The Next World in SirThomas Browne's The Garden of CyrusThe Pröts of Patriotism: National Allegory in Comus Comedy and Tragedy in The Fiction of William TrevorWonder, Touch, and Subjectivity in Scève's DélieNoël, Nonoléon, Jabès: Anagrams and Palindromes of The papoèteThe Boundaries of Fiction: Metalepsis in Marcos Martínez's Espejo de príncipes y caballeros (III) and its Precedents in Castilian Romances of ChivalryRecasting Roque: Cervantes's Bandits and The Politics of DramaQuixotic Mysticism and The Body: Querying National Identity in EduardoMendicutti's Yo no tengo la culpa de haber nacido tan sexy'Catastrophe Sociology' and The Metaphors We Live By: On Kathrin Röggla's wir schlafen nichtREVIEWS

ARTICLESLiterature & MusicKaretnyk, B. Staging Lolita (and 'Saving' Humbert): Nabokov,Shchedrin and the Art of Adaptation 601HistoryWaldron, P. 'A Sad and Heart-Rending Landscape': Summer1914 and the Politics of Russia's Wounded 634PoliticsKolstø, P. Symbol of the War - But Which One? TheSt George Ribbon and Russian Nation-Building 660MARGINALIAMaiorov, A. V. The Mongolian Capture of Kiev: The Two Dates 702REVIEW ESSAYMorrison, A. Muslims and Modernity in the Russian Empire 715

Written in 1802-03, The Natural Daughter and The Bride of Messina show Goethe and Schiller writing in a neo-classical manner far removed from the Sturm und Drang style of their early works. The plays reflect their authors' reaction to the troubled post-Revolutionary years of their composition - a counter-Revolutionary one, both in an aesthetic and at least implicitly political sense. Their eponymous heroines embody hopes of restored familial harmony and political order, yet in both plays those hopes are tragically frustrated. Goethe's Eugenia, natural daughter of the Duke, is abducted and threatened with exile by a political conspiracy, and must renounce her aristocratic aspirations. Reduced to bourgeois anonymity, she hopes nevertheless one day to re-emerge and serve King and country, but the ending of the play is at best ambiguous. Schiller's Beatrice is loved by both Manuel and Cesar, brothers whose mutual hatred has plunged Messina into civil strife. Deception, misunderstanding, and a terrible secret weave a fatal web, whose unravelling leaves both brothers dead and Messina rulerless to face an uncertain future.F. J. Lamport's bold new verse translation captures the highly refined, deliberately artificial style of these two unusual plays which, though less well known than some of their authors' other works, represent a remarkable poetic achievement.

Volume 22 of Austrian Studies. Elfriede Jelinek has not shied from the major political topics of our times. The legacy of Nazism, the prevalence of right-wing populism, the war in Iraq, the ongoing financial crisis, humanitarian disasters, misogyny and sexism - all are tackled in formally innovative ways and across a wide range of genres. Employing original theoretical approaches to Jelinek's writing, its theatrical realization and its international reception, the contributors to this volume explore Jelinek's work through the intersecting lenses of sport, cultural understanding and translation (both linguistic and artistic). This first volume of Austrian Studies to be dedicated to the work of a single author is a testament to the richness of Jelinek's working methods and to her significant impact in multiple geographical, political and cultural arenas. Editors: Allyson Fiddler is Professor of German and Austrian Studies at Lancaster University; Karen Jürs-Munby is Lecturer in Theatre Studies at Lancaster University.